The foundation.
Filmmaker development and co-production experience. Editorial judgment. Public-media distribution relationships. A commitment to stories that broaden our understanding of America.
A VISION BY ANDREW RAMSAMMYSEPTEMBER 2026
Independent Stories.
A Sustainable Future.
A vision for transforming ITVS—connecting filmmakers and audiences, attracting new investment, and building a business that sustains independent storytelling.
Experience the vision ↓A direct-to-relationship future for ITVS A proposal for discussion
01 / THE NORTH STAR
A PERSONAL INTRODUCTION
Back to that night.
Andrew Ramsammy
Phoenix Art Museum
BEFORE WE TALK ABOUT THE BUSINESS
Remember what a story can make possible.
A message from Andrew will open this experience here. Until then, his reflection follows below.
It started with
a night at
the movies.
“Watching David Alvarado’s American Pachuco at the Phoenix Art Museum, I felt the American story come alive in the room.”
The film inspired me. So did being there with an audience, witnessing a perspective that belongs in our understanding of this country.
Different narratives, told from different perspectives, are woven into the American tapestry. They are part of what makes America great. Seeing that on a screen, together, gives that truth a presence and a power that stays with you.
Andrew Ramsammy
THE PURPOSE OF EVERYTHING THAT FOLLOWS
Make more of those
encounters possible.
Why ITVS.
Why this next chapter.
ITVS brings a public-service purpose, experience supporting independent filmmakers, and established public-media relationships. The opportunity is to connect those strengths to a business that sustains the relationship after release.
ITVS would become the organization that connects financing, distribution, audience relationships, and continuing filmmaker income.
The connective work.
Membership and audience insight. Rights and revenue accounting. A repeatable release operation. Commercial partnerships and a continuing editorial calendar.
The reach.
Cinemas supply screens. Streamers supply selected windows. Cultural partners bring local authority. Academic partners strengthen learning. ITVS coordinates the experience and measures the return.
Why would people choose to participate?
Filmmakers: paid work, negotiated ownership protections, transparent revenue, and help building an audience they can continue to reach with consent. Audiences: recognition, discovery, and a community worth returning to. Funders: a defined public purpose, measurable access, and infrastructure that can support recurring income. Partners: distinctive programming and written commercial terms.
These are propositions to validate. A familiar institutional name alone will not earn participation.
02 / THE RELATIONSHIP
The credits roll.
The relationship continues.
Every film should leave behind an audience relationship that helps the next film find its public. ITVS would steward that relationship on behalf of filmmakers—and share the value it creates.
01
A FIRST ENCOUNTER
A filmmaker earns your attention.
An original social video or podcast conversation offers something worthwhile. A free newsletter gives you a reason to stay connected.
Value created: discovery becomes a consented audience relationship.
Introducing ITVS Collective
A working name for a membership built around films, filmmakers, and participation. Inspired by A24’s relationship across releases, adapted to a public-service mission.
Free
Public podcast, newsletter, selected events, and invitations to support access.
$96 / year
Monthly filmmaker gatherings, selected streaming premieres, advance booking, and negotiated ticket discounts.
$240 / year
Audience benefits, craft sessions, peer exchange, and discounts on certificate programs.
Proposed test prices. Tickets and tuition remain separately priced. Film access depends on licensed rights. Membership confers no influence over editorial decisions.
WHAT MEMBERSHIP FEELS LIKE / ILLUSTRATIVE MONTHYou help a fuller American story
WEEK 01 / DISCOVER WEEK 02 / GATHER WEEK 03 / GO DEEPER WEEK 04 / RETURN
You help a fuller American story
be seen and heard.
A voice worth knowing.
A public podcast conversation, a filmmaker’s letter, and an original social short invite you into the story.
Meet the person behind it.
A member conversation follows a screening. Filmmaker questions and local perspectives carry the evening forward.
Understand the choices.
A licensed member premiere or companion discussion, plus a creator-tier session on craft and the business of filmmaking.
Know what your support does.
A field note on access and filmmaker payments, next month’s program, and an invitation to bring someone into the community.
Sample programming, not booked events. Renewals must be earned through useful programming and belonging; an annual discount alone is not a relationship.
03 / ITVS CARAVAN
A festival
that comes to you.
Filmmakers travel together through a circuit of cities. The audience gets a film, a conversation, and a reason to return.
A screening at night. A live podcast conversation. A workshop the next morning. Local voices shape each stop, and filmmakers are paid for their time.
Approach Harkins, Cinemark, AMC, independent cinemas, and existing festivals with a defined season and demonstrated local demand. Start with a compact regional route before expanding.
Proposed exhibition partners; no commitments assumed. City selection follows audience demand, local relationships, and route economics.
6films with negotiated rights
10cities in an illustrative season
120screenings · two per film, per city
THE INVITATION
Come for a story.
Leave part of a community.
04 / A FILM’S FULL LIFE
One story.
More ways to matter.
A negotiated release strategy creates value at every window and preserves a meaningful destination for free public access.
ILLUSTRATIVE WINDOW / 4–6 WEEKS
Make the premiere an occasion.
The Caravan and selected theatrical engagements create ticket revenue, local conversation, and initial member relationships. Check festival eligibility and existing premiere commitments before booking.
If PBS declines a film, what happens next?
ITVS should have a rights-cleared alternative: direct station distribution through a service such as NETA, an appropriate independent distributor, or an ITVS-controlled digital release. Station carriage remains a station decision. Controversy should not automatically end a film’s public life; accuracy, editorial review, insurance, and participant rights still apply.
What do filmmakers receive?
Copyright stays with filmmakers. The proposal includes appropriate rights fees, paid touring and teaching, transparent distribution revenue shares, and a membership creator pool. A proposed 20% administration fee applies after third-party deductions, followed by recovery of approved, capped release costs and payment of the balance to rights holders. A separate 15% of collected membership revenue would fund a creator pool. All terms require negotiation and auditable reporting.
Windows are proposed, title-specific, and subject to existing rights. An exclusive ITVS premiere and an exclusive partner run cannot occur simultaneously. Existing ITVS agreements do not automatically authorize this model.
FOLLOW ONE FILM / ENTIRELY HYPOTHETICAL
The Block We Built
Imagine a documentary about neighbors transforming a vacant building into a community arts space. Follow the work, the rights, and the money from its first investment to the filmmaker’s next project.
01 / Develop and finance
ITVS: helps assemble development and production support and agrees a release plan. Filmmaker: makes the film and retains copyright under negotiated terms. Money: production financing pays for production; it is separate from the venture revenue scenarios below.
02 / Tour and meet the audience
ITVS and exhibitors: book and promote the Caravan. Local partners shape the discussion. Filmmaker: attends agreed stops and is paid appearance fees and travel. Money: exhibitors receive their share, and remaining receipts follow a disclosed distribution agreement. Audience sign-up is voluntary.
03 / Premiere and participate
ITVS: negotiates a limited premium window on its destination or a partner streamer. Filmmaker: approves the licensed uses under the agreement. Money: license fees, eligible distribution receipts, and a defined membership creator pool provide distinct payment routes. The same viewing access is never counted twice.
04 / Reach the wider public
PBS, stations, and ITVS: plan broad access. If PBS declines, a cleared alternative release remains available. Filmmaker: participates in optional, paid engagement work. Value: a public life beyond the premium window, with commercial terms and access obligations agreed in advance.
05 / Teach and extend the work
ITVS Academy: commissions a workshop on building trust with documentary participants. Filmmaker: licenses cleared teaching excerpts and receives a teaching fee. Money: tuition supports instruction and program delivery; educational exhibition licenses are contracted separately.
06 / Begin the next story
ITVS: provides a transparent statement and useful audience insight. Filmmaker: can invite audiences into future work through separate consent. Rights expire as contracted. Value: the next project begins with a relationship, while editorial selection remains independent of prior popularity.
A distribution payment, made visible
$100,000 received after third-party deductions − $20,000 administration fee − $30,000 approved release expenses = $50,000 payable to the rights holders.
Illustrative single-film settlement, not a film forecast. Paid appearances, teaching, and membership-pool allocations are accounted for separately. No double recovery of expenses already covered by restricted sponsor support; co-financier claims must be disclosed.
05 / SHARE OF VOICE
Documentary filmmakers
were the OG creators.
They built trust, found audiences, and told stories that mattered before the industry settled on the word “creator.” We should claim that lineage and welcome the next generation.
OUR LAUNCH CAMPAIGNOG Creator.
OG Creator.
Independent from the start.
We would launch across social channels with the people who have always done the work: documentary filmmakers building trust, finding their public, and making stories on their own terms.
Pair established filmmakers with emerging voices. Commission original vertical portraits, a scene and the story behind it, and honest accounts of how the work gets made. The invitation ends with a next step: listen, attend, join, or learn.
Download the campaign logo ↓Creator portraits on Instagram Reels, TikTok, and YouTube Shorts. Paid filmmaker participation and cleared excerpts. Invite people into the free community.
Release the podcast pilot, co-host live conversations, and open the first Caravan bookings. LinkedIn carries the investment case to partners and funders.
Invite engaged audiences to become founding members. Offer a real first month of programming, then measure paid conversion and continued participation.
Proposed channels and six-week rollout. Organic publishing is supported by a capped acquisition test. Filmmakers are paid; campaign participation does not buy favorable commissioning decisions.
The Story
Behind It.
What did making this film reveal that the rest of us need to understand?
A weekly presence in culture.
Paid filmmaker diaries, original shorts, craft conversations, and social stories create a relationship between premieres. Give people something meaningful before asking them to join.
Program joy, music, work, humor, family, and belonging alongside investigations and difficult public questions. Make room for whole lives.
Build from ITVS’s existing Creator Lab and its work with PBS on documentary distribution on YouTube.
THE EDITORIAL PROMISE
A fuller American story.
Cultural specificity. Artistic ambition. The possibility of recognition—and the discovery of a life beyond your own.
Commission for these qualities across the slate, the podcast, social films, and public conversations. Include joy and contradiction alongside struggle. Protect accuracy and participant dignity. Popularity can inform distribution; it cannot be the sole measure of which stories deserve to exist.
The test I carry from American Pachuco: does this work help someone recognize themselves, encounter another perspective, or understand the country more fully?
Co-create the conversation.
Invite Maria Hinojosa and Futuro into a paid collaboration: a co-curated Caravan stop, independently commissioned audio companions, and selected bilingual social work. Shared economics. Editorial authority. Respect for existing agreements.
Connect film to culture.
Propose a limited series of live conversations with creative room to shape the format. Work with Sam and the relevant production partners on rights, compensation, and promotion.
Proposed collaborations, not announced partnerships. Their value is creative judgment and audience connection.
06 / ITVS ACADEMY + SHARED SCALE
Watch the work.
Learn the craft.
Turn documentary practice into accessible, non-degree education. Working filmmakers teach; participants make work, receive feedback, and leave with something they can use.
Documentary Storytelling & Ethics
Research, interviewing, narrative, verification, and relationships with participants.
Building an Independent Storytelling Business
Budgets, rights, distribution, audience development, and revenue.
Test $900 public tuition and $720 member tuition, with scholarships and assessed final projects.
Offer ITVS certificates of completion or co-brand with an academic institution that contributes real instructional value. Pilot internationally with a local partner after validating completion, outcomes, and economics. Tuition never buys access to commissioning decisions.
NATIONAL MULTICULTURAL ALLIANCE
Shared scale. Cultural authority.
Invite Black Public Media, CAAM, Latino Public Broadcasting, Pacific Islanders in Communications, and Vision Maker Media to shape the shared slate, touring, education, membership, and commercial opportunities.
Begin with a funded collaboration and written decision rights. Examine a joint venture, merger, or acquisition where participants see a stronger future together. Each organization requires its own diligence and board agreement.
Give capital a job to do.
Corporate partners can support a season of meaningful digital, live, learning, and broadcast activity. Philanthropy funds public access, emerging voices, scholarships, and the infrastructure required to change.
AdobeEditing education + scholarships
B&HEquipment access + workshops
Sony / PanasonicProduction labs + demonstrations
AppleCreator access + platform opportunities
Prospective sponsors. Cash and in-kind support are reported separately. Broadcast follows applicable underwriting rules; digital sponsorship is disclosed. Sponsors cannot buy editorial outcomes or private audience data.
07 / THE PHILANTHROPIC INVITATION
Fund the future
we can build.
The question I expect from this board is direct: how will I get philanthropy to support this? I would make the transformation itself the case for support—and take responsibility for raising the capital to make it happen.
“Sustainability is the horizon.
Transformation is how you get there.”
Andrew Ramsammy
This is the vision I would put in front of philanthropy: help ITVS build a sustainable future for independent storytelling.
That night at the Phoenix Art Museum showed me what we are asking people to invest in. An American story came alive. People saw and felt something they knew belonged in the picture. Our responsibility is to make those encounters possible again and again—and build the means to sustain them.
A film can move a room. An investment in ITVS’s transformation can help many films find their rooms, their audiences, and their next sources of support. Membership, touring, licensing, education, and corporate partnerships give philanthropy a concrete way to help create that future.
Sustainability is a horizon because the work keeps changing. We will have to keep earning trust, adapting the business, and investing in the mission. The philanthropic proposition is an institution with greater capacity to do that: more sources of support, stronger audience relationships, and more opportunity for filmmakers.
Make the next dollar possible.
Fund the people, audience systems, rights accounting, and early tests needed to establish recurring revenue. Pay for the work of transformation, including the learning required before expansion.
Keep the invitation open.
Support free public access, scholarships, emerging filmmakers, and stories whose public value exceeds their commercial return. This remains a continuing philanthropic role as earned income grows.
Build something others share.
Invite National Multicultural Alliance partners into funded collaboration. Agree how shared distribution, education, and audience capacity benefit each participant, with cultural authority and filmmaker compensation protected.
HOW I WOULD RAISE ITA vision. A lead commitment.
A vision. A lead commitment.
A circle willing to build.
01 / Lead with relationships and listen for alignment.
I would lead the fundraising with the board. Begin with ITVS’s existing supporters and relationships from my work across public media, Word In Black, and arts education. Build a qualified prospect list around independent journalism, cultural representation, artist livelihoods, learning, and institutional capacity. Ask what each funder needs to see to support this transformation; then match the proposal to a real shared purpose.
02 / Bring funders into the experience.
Convene small screenings and working conversations with filmmakers and prospective funders. Take them back to the human experience that started this vision, then show the business model, the costs, and the public return. Invite a founding group to help resource the work while ITVS retains editorial and operating authority.
03 / Secure an anchor and assemble the capital.
For the proposed $1.35 million pilot capital requirement, pursue an illustrative $750,000 lead commitment and three $200,000 founding commitments. Seek flexible transformation grants, with payment schedules aligned to cash needs and agreed milestones. A lead commitment can create a specific invitation for the next funder to join.
This is a proposed fundraising structure, not secured support or a claim of funder interest. It funds the existing $1.35 million capital plan below; it is not additional revenue. The $150,000 design phase is included in setup costs. Recurring philanthropic operating support is a separate ask and must be secured separately.
04 / Turn commitments into an accountable plan.
Within the ninety-day design phase, return with qualified prospects, tailored requests, a lead-funder status, written commitments received, restrictions, payment dates, and a cash-funded launch plan. Each board member can help through an introduction, a hosted conversation, or stewardship. The CEO owns the campaign and reports progress; a list of hopeful prospects does not count as cash.
05 / Earn the next investment.
Give funders quarterly evidence of what their support made possible: paying and renewing members, income earned after delivery costs, timely filmmaker payments, free public access, learning outcomes, and remaining runway. Share what failed and what changed. Seek renewed support and expansion funding against demonstrated progress.
Two returns. One public purpose.
Institutional return: a stronger business, a broader funding base, and relationships that continue beyond a single release. Public return: independent stories seen, filmmakers paid, and audiences invited into a fuller understanding of America. The return to philanthropic grantmakers is mission impact and institutional resilience; these grants do not promise a financial payout.
Corporate sponsorship has a complementary role: brands pay for defined, disclosed opportunities across social, live, learning, and broadcast activity. Philanthropy can support the public value and capacity behind that work. We would budget these contributions separately and protect editorial independence across both.
I would ask philanthropy to invest in an ITVS that can keep moving toward that horizon. This vision gives us something substantial to invite them into—and a plan against which they can hold us accountable.
08 / WHY ANDREW RAMSAMMY?
I know the work.
I know what it takes to change.
This vision brings together the work I have spent my career doing: making stories, finding their audiences, building partnerships, raising support, and leading organizations through consequential change.
I come to this as a filmmaker, a three-time Emmy Award winner, a public-media executive, and an institutional leader. I have had to connect creative ambition to the people, money, and decisions that make it possible.
I have been on the producer’s side of the table.
As executive producer of The Daytripper, I led corporate business development for independently produced programming airing on Texas PBS stations, with distribution through NETA. I worked on the relationship between sponsorship, production, distribution, and audience growth because each depended on the others.
We extended that relationship across Facebook, Twitter, and YouTube. Broadcast and social belonged in the same strategy. That experience is directly relevant to ITVS: help filmmakers make excellent work, create reasons for audiences to stay connected, and build the revenue to keep going.
I understand how a national public-media effort comes together.
At PRI, I directed content projects and initiatives across The World, The Takeaway, and PRI.org. The work brought together grant-funded projects, cross-functional teams, national events, and partnerships across platforms.
A shared ambition needs clear responsibilities, resources, and follow-through. I would bring that discipline to ITVS’s relationships with filmmakers, stations, distributors, cultural organizations, and funders.
I have worked where mission and a new business model meet.
As Chief Impact Officer at the Local Media Association, my work included Word In Black and the Knight x LMA BloomLab. Those experiences brought me into the work of collaboration, philanthropic support, and business transformation in local media.
My work through United Public Strategies, Arizona PBS, and ASU’s Global Sport Matters also connected media, representation, and public engagement. I understand the opportunity to build something together while respecting the identities and relationships that each partner brings.
I have carried responsibility for an institution’s future.
My service to VCFA spanned trustee, interim president, and president. I helped lead the institution through its affiliation with CalArts while confronting difficult questions about finances, programs, and the future of arts education.
That work deepened my understanding of governance, operating choices, and the responsibility to explain change. It also informs the ITVS Academy proposal: working artists need useful learning, strong mentorship, and a model that can support the people delivering it.
PUBLIC MEDIA INVESTED IN MEI want to put that investment
I want to put that investment
back to work.
CPB’s investment in my development through the PBS Producers Academy and Next Generation Leadership is part of why I am here. I was a CPB/PBS Producers Academy fellow in 2013 and a Next Generation Leadership fellow embedded at NPR in 2016. Those opportunities gave me space to grow as both a creator and a leader. My foundation in drama at LaGuardia High School and film at the School of Visual Arts, followed by the Sulzberger Fellowship at Columbia Journalism School in 2022, connects creative practice to the work of leading change.
I know what it means when this field decides someone is worth investing in. I want ITVS to make that possible for the next generation—and build the audience relationships and financial capacity that help those investments endure.
MY VOICE IS PART OF HOW I LEADMake the vision visible.
Make the vision visible.
Give people a reason to join it.
I use my personal voice and brand to make institutional questions human: what is changing, why it matters, and what we can do about it. I am willing to put my name behind the argument and invite people into the conversation.
At ITVS, I would bring that voice across social channels with a purpose and a rhythm. LinkedIn would carry the case to funders, partners, and leaders. Instagram, TikTok, and YouTube would bring audiences closer through short conversations, filmmaker visits, and reflections from the field. Facebook and other community channels would carry local invitations and continue the discussion. The podcast would give those conversations room to develop.
Each channel needs work suited to its audience. I would use my reach and relationships to introduce filmmakers, explain the transformation, and invite people to watch, attend, join, learn, or support. We would measure whether that attention becomes participation and trust. The relationships we build must strengthen ITVS and the filmmakers it serves.
Proposed leadership communications approach; no personal audience size or conversion rate is assumed in the revenue model.
“I have made the work. I have helped find the money and the audience. I have led through change. I want to bring that experience together to build ITVS’s next chapter.”
Andrew Ramsammy
09 / THE ECONOMICS + THE EVIDENCE
Build for
meaningful scale.
A capitalized pilot opens a larger opportunity. Explore three illustrative annual operating stages, with delivery costs and filmmaker participation growing alongside revenue. These are opportunities to test, not forecasts.
VALIDATE / PILOT$2.35m
8,000 average paid members
BUILD / INDICATIVE YEARS 2–3$7.24m
25,000 average paid members
NATIONAL / INDICATIVE YEARS 3–5$14.09m
50,000 average paid members
Annual venture receipts, including sponsorship and recurring philanthropy. Stages depend on evidence and investment; dates do not imply guaranteed attainment.
$108 realized annual yield per average member
Excludes donated equipment and services
ANNUAL VENTURE RECEIPTS$7,238,400
ANNUAL OPERATING COSTS$5,920,000
OPERATING SURPLUS$1,318,400
Changing membership also changes the $36 per-member allowance for creator participation and member service. Other costs and revenue stay fixed within each selected stage. This simplified sensitivity does not model every cost step, sponsor servicing change, churn, or cash timing.
Follow the assumptions for the selected stage
$108 membership yield is a proposed blended mix across audience and creator tiers, after discounts; no second count of creator members. The $36 allowance includes a 15% membership creator pool plus service and transaction costs. Distribution and non-member rights payments sit in a separate cost line.
All scenarios exclude ITVS’s existing core operations, new feature-film production budgets, and acquisitions. Operating surplus is before those uses and is available for reinvestment only after obligations are met. Restricted support must fund its designated work.
Where could the $7.24 million opportunity come from?
Membership: 25,000 average paid members × $108 = $2.7 million. That is 300,000 paid member-months; it requires sustained acquisition and retention, not simply reaching 25,000 members at year-end.
Sponsorship: an illustrative sales plan of three national anchors at $250,000, five program partners at $100,000, and ten local partners at $25,000 produces $1.5 million. Inventory must be distinct and deliverable.
Recurring philanthropy: four hypothetical $200,000 institutional commitments plus $200,000 in individual support produces $1 million. These are fundraising targets, not commitments from named funders.
Other earned income: theatrical receipts of $518,400 after exhibitors, $800,000 in licenses, and $720,000 in tuition. The detailed assumptions above make each source visible.
CAPITALIZE THE FIRST TEST
$1.35 million
Proposed pilot capital: $450,000 setup, $354,000 baseline operating gap, $300,000 reserve, and $246,000 contingency. Separate from recurring philanthropy. Larger stages require a new capital and working-cash plan before board approval.
Revenue growth must pay for delivery. At the build stage, $518,400 in net box office sits against $850,000 of direct touring costs. The theater experience still needs a defined sponsorship allocation and proof of audience value. Allocating existing sponsorship does not create new income.
BEFORE 25,000 MEMBERS / EARN THE FIRST 500500 3 + 2 100
Prove that people will choose us.
Test a founding-member offer against 5,000 deduplicated, consented prospects recruited through filmmaker communities, paid social, screening partners, and the podcast. A 10% conversion target yields 500 paid members. Neither the audience size nor conversion rate is established.
Paying founding members
Cap the acquisition test at $25,000: $50 acquisition cost if all 500 convert. At $96 annual yield less $36 member cost, that is roughly ten months to recover acquisition cost before shared overhead.
Commercial proofs
Seek written booking economics from three cinema partners and two conditional cash sponsor agreements. Test advance ticket demand before committing a route.
Paid learning enrollments
Test two course cohorts, scholarship demand, instructor cost, completion, and useful work produced. Set an 80% completion target and measure actual contribution.
Proposed gates: positive member contribution, a credible acquisition payback within twelve months, and 75% first annual renewal before major membership expansion. Partner and cinema tests must also show a credible fully funded route. Rework the offer if thresholds fail; do not substitute a larger forecast.
10 / THE ORGANIZATION + THE BOARD’S DECISION
Give the future
authority to happen.
The model requires an accountable operating unit, a protected editorial process, and board decisions that release capital against evidence.
Approve the investigation.
Today: authorize a ninety-day phase capped at $150,000 inside the proposed setup budget. Name the accountable leader and board oversight group. Return with member evidence, rights terms, route economics, and a financed launch plan. Make the CEO-led philanthropic campaign a core design deliverable, with board introductions and stewardship assigned.
Release capital against proof.
After design: review the 500-member test, signed slate rights, cinema terms, sponsor commitments, written philanthropic commitments and payment schedules, staffing, and cash runway. Approve the pilot budget and capital plan explicitly. No automatic authority to launch follows from approving design.
Fund what earns renewal.
After pilot evidence: review retention, filmmaker pay, public access, sponsor renewal, learning outcomes, cash, and contribution. Approve the larger stage and its additional capital needs separately. Mergers and acquisitions require separate votes.
The board should see both kinds of return.
Business: paid conversion, retention, acquisition payback, filmmaker settlement timeliness, sponsor renewal, earned income, and cash runway.
Public purpose: meaningful free access, community participation, voices represented, audience recognition and discovery, and continuing opportunity for filmmakers.
Track share of voice through a defined set of documentary and cultural conversations, independent mentions, direct visits, and invitations for filmmakers to participate. Connect attention to lasting participation, rather than treating impressions as impact.
“I keep coming back to that night at the Phoenix Art Museum. The opportunity before ITVS is to make that kind of encounter a continuing part of American life.”
Andrew Ramsammy
Stories seen. Voices heard.
A public invited to belong.
The original manifesto documents the pilot proposal. This website extends it with the OG Creator campaign, validation gates, the philanthropic case for transformation, and larger illustrative operating stages.